January 2017, № 1 (201)

Mirkina J.Z. MYTHOPOETIC SPACE OF M. FRISCH NOVEL “HOMO FABER”This article is devoted to considering the issue of the space model, depicted in the novel “Homo Faber” by a famous writer of the 20^th century Max Frisch. The analysis of the model indicates several types of space relevant to nature, culture or civilization. They are: the New World, the Old World and Third World countries. It is important to note that the Old World is associated with the mythopoetic type of space characterized by a number of sacral objects and its connection with mythology. From the very beginning of the text the first mythological allusion — a printing machine is exposed. Max Frisch takes it along to a journey and calls it “Hermes-Baby”. In one respect this name is the brand of a Swiss manufacturer, at the same time it belongs to an ancient Greek god, Hermes, who is remarkable for his eloquence (the character of the novel keeps a diary) and support for travelers (Valter Faber travels a lot for work). The idea of revenge is realized in ancient Greek goddesses the Erinyes. Valter Faber adores the sculpture “Kopf einer schlafenden Erinnye” in the National Museum and believes that due to light optical illusion the goddess would liven u p. Later in the text of the novel a snake (snakes are Erinyes's hair) will play a lead role in the main character's fate: Sabet dies of a basal skull fracture caused by falling after a bite from a snake. The novel veils the ancient Greek Oedipus myth: both characters are intimate with the nearest relations with no awareness of it. Having been conscious of that fact the main character like Oedipus is about to poke his eyes out. To summarize, mythologization is a kind of artistical device, which creates mythopoetic space of the novel. Ancient Greek mythology enables Max Frisch to apply to innumerous analogies and parallels, which is reflected in the poetic of the novel.Key words: mythopoetic, mythologization, allusion, culture.

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References:

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About this article

Author: Mirkina Yu.Z.

Year: 2017

Editor-in-chief

Sergey Aleksandrovich
MIROSHNIKOV

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